But what is the mind? What do we mean when we say we are "aware" of something? What is this peculiar state in our heads, at once utterly familiar and bewilderingly mysterious, that we call awareness or consciousness? In Physics in Mind, eminent biophysicist Werner R. Loewenstein argues that to answer these questions, we must first understand the physical mechanisms that underlie the workings of the mind. And so begins an exhilarating journey along the sensory data stream of the brain, which shows how our most complex organ processes the vast amounts of information coming in through our senses to create a coherent, meaningful picture of the world. Bringing information theory to bear on recent advances in the neurosciences, Loewenstein reveals a web of immense computational power inside the brain. He introduces the revolutionary idea that quantum mechanics could be fundamental to how our minds almost instantaneously deal with staggering amounts of information, as in the case of the information streaming through our eyes. Combining cutting-edge research in neuroscience and physics, Loewenstein presents an ambitious hypothesis about the parallel processing of sensory information that is the heart, hub, and pivot of the cognitive brain. Wide-ranging and brimming with insight, Physics in Mind breaks new ground in our understanding of how the mind works.

    In this revised edition of Mr. Giedion's classic work, major sections have been added and there are 81 new illustrations. The chapters on leading contemporary architects have been greatly expanded. There is new material on the later development of Frank Lloyd Wright and the more recent buildings of Walter Gropius, particularly his American Embassy in Athens. In his discussion of Le Corbusier, Mr. Giedion provides detailed analyses of the Carpenter Center at Harvard University, Le Corbusier's only building in the United States, and his Priory of La Tourette near Lyons. There is a section on his relations with his clients and an assessment of his influence on contemporary architecture, including a description of the Le Corbusier Center in Zurich (designed just before his death], which houses his works of art. The chapters on Mies van der Rohe and Alvar Aalto have been brought up to date with examples of their buildings in the sixties. There is an entirely new chapter on the Danish architect Jorn Utzon, whose work, as exemplified in his design for the Sydney Opera House, Mr. Giedion considers representative of post-World War II architectural concepts. A new essay, Changing Notions of the City, traces the evolution of the structure of the city throughout history and examines current attempts to deal with urban growth, as shown in the work of such architects as Jose Luis Sert, Kenzo Tange, and Fumihiko Maki. Mr. Sert's Peabody Terrace is discussed as an example of the interlocking of the collective andindividual spheres. Finally, the conclusion has been enlarged to include a survey of the limits of the organic in architecture.